Notes on Contributors. Acknowledgments. Introduction: James Phelan (Ohio State University) and Peter J. Rabinowitz (Hamilton College). PROLOGUE:. 1. Histories of Narrative Theory (I):A Genealogy of Early Developments: David Herman (Ohio State University). 2. Histories of Narrative Theory (II): From Structuralism to the Present: Monika Fludernik (University of Freiburg). 3. Ghosts and Monsters: On the (Im)Possibility of Narrating the History of Narrative Theory: Brian McHale (Ohio State University). PART I: NEW LIGHT ON STUBBORN PROBLEMS:. 4. Resurrection of the Implied Author: Why Bother? Wayne C. Booth (University of Chicago). 5. Reconceptualizing Unreliable Narration: Synthesizing Cognitive and Rhetorical Approaches: Ansgar F. Nunning (Justus-Liebig-University of Giessen). 6. Authorial Rhetoric, Narratorial (Un)Reliability, Divergent Readings: Tolstoy's Kreutzer Sonata : Tamar Yacobi (Tel-Aviv University). 7. Henry James and "Focalization," or Why James Loves Gyp: J. Hillis Miller (University of California at Irvine). 8. What Narratology and Stylistics Can Do for Each Other: Dan Shen (Peking [Beijing] University). 9. The Pragmatics of Narrative Fiction: Richard Walsh (University of York). PART II: REVISIONS AND INNOVATIONS:. 10. Beyond the Poetics of Plot: Alternative Forms of Narrative Progression and the Multiple Trajectories of Ulysses : Brian Richardson (University of Maryland). 11. They Shoot Tigers, Don't They?: Path and Counterpoint in The Long Goodbye : Peter J. Rabinowitz (Hamilton College). 12. Spatial Poetics and Arundhati Roy's The God of Small Things: Susan Stanford Friedman (University of Wisconsin-Madison). 13. The "I" of the Beholder: Equivocal Attachments and the Limits of Structuralist Narratology: Susan S. Lanser (Brandeis University). 14. Neonarrative; or, How to Render the Unnarratable in Realist Fiction and Contemporary Film: Robyn R. Warhol (University of Vermont). 15. Self-Consciousness as a Narrative Feature and Force: Tellers vs. Informants in Generic Design: Meir Sternberg (Tel-Aviv University). 16. Effects of Sequence, Embedding, and Ekphrasis in Poe's "The Oval Portrait": Emma Kafalenos (Washington University in St. Louis). 17. Mrs. Dalloway's Progeny: The Hours as Second-Degree Narrative: Seymour Chatman (University of California, Berkeley). PART III: NARRATIVE FORM AND ITS RELATIONSHIP TO HISTORY, POLITICS, AND ETHICS:. 18. Genre, Repetition, Temporal Order:Some Aspects of Biblical Narratology: David H. Richter (City University of New York). 19. Why Won't Our Terms Stay Put?: The Narrative Communication Diagram Scrutinized and Historicized: Harry E. Shaw (Cornell University). 20. Gender and History in Narrative Theory: The Problem of Retrospective Distance in David Copperfield and Bleak House: Alison Case (Williams College). 21. Narrative Judgments and the Rhetorical Theory of Narrative: Ian McEwan's Atonement: James Phelan (Ohio State University). 22. The Changing Faces of Mount Rushmore: Collective Portraiture and Participatory National Heritage: Alison Booth (University of Virginia). 23. The Trouble with Autobiography: Cautionary Notes for Narrative Theorists: Sidonie Smith (University of Michigan) and Julia Watson (Ohio State University). 24. On a Postcolonial Narratology: Gerald Prince (University of Pennsylvania). 25. Modernist Soundscapes and the Intelligent Ear: An Approach to Narrative Through Auditory Perception: Melba Cuddy-Keane (University of Toronto). 26. In Two Voices, or: Whose Life/Death/Story Is It, Anyway? Shlomith Rimmon-Kenan (Hebrew University of Jerusalem). PART IV: BEYOND LITERARY NARRATIVE:. 27. Narrative in and of the Law: Peter Brooks (University of Virginia). 28. Second Nature, Cinematic Narrative, the Historical Subject, and Russian Ark : Alan Nadel (Rensselaer Polytechnic Institute). 29. Narrativizing the End: Death and Opera: Linda Hutcheon (University of Toronto) and Michael Hutcheon (University of Toronto). 30. Music and/as Cine-Narrative or: Ceci n'est pas un leitmotif :Royal S. Brown (City University of New York). 31. Classical Instrumental Music and Narrative: Fred E. Maus (University of Virginia). 32. "I'm Spartacus!": Catherine Gunther Kodat (Hamilton College). 33. Shards of a History of Performance Art: Pollock and Namuth Through a Glass, Darkly: Peggy Phelan (Stanford University). EPILOGUE. 34. Narrative and Digitality: Learning to Think With the Medium: Marie-Laure Ryan (author). 35. The Future of All Narrative Futures: H. Porter Abbott (University of California, Santa Barbara). Glossary. Index
